Titlebook: Spiritualism and Women‘s Writing; From the Fin de Sièc Tatiana Kontou Book 2009 Palgrave Macmillan, a division of Macmillan Publishers Limi

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,The Other World Illuminated: Wiring Science, Text and Spirit in Victoria Glendinning’s ,wife Isabel, who worked as a retoucher of photographic negatives. Lewis does not make the connection between Ethel’s involvement in fraudulent spiritualism and Isabel’s profession explicit. We are prompted, however, to make this association for ourselves. Although Isabel was working as a photographe

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,Queering the Séance: Sarah Waters’ ,it. Besides pointing to her indecision over where exactly to begin her story, Margaret’s thoughts articulate a wider problem in history writing, in the transition from event to narrative. Indeed, she expresses an anxiety about the exclusivity and classification of public histories which has been pre

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,Natural and Spiritual Evolutions: A. S. Byatt’s ,themes (particularly the development of natural history and spiritualism). However, whereas . switches between the past and the present, between the nineteenth and the twentieth century, . is set exclusively in the past — simulating Victorian perspectives on natural history and spiritualist experience.

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Theatres in the Skull: The Society for Psychical Research and Actress Narratives,iss Berry is a bona fide spiritual entity along similar lines. If Berry was a fraud, then she would surely have chosen an alternative career — ‘such twists and bounds and pirouettes’, we are told, would have earned her great wealth ‘on the stage’ (ibid., p. 224).

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,The Other World Illuminated: Wiring Science, Text and Spirit in Victoria Glendinning’s ,uates that the shaky union between Ethel and Lewisham is temporarily strengthened by the arrival of their first child — ‘The future is the Child. The Future. What are we — any of us — but servants or traitors to that?’ (ibid., p. 188).